Bibliography
Philippe Kaenel (ed.), Marius Borgeaud, exh. cat. Lausanne, Fondation de l’Hermitage, Lausanne, La Bibliothèque des Arts, 2015: n. 66.
Bernard Wyder, avec la collaboration de Jacques Dominique Rouiller, Marius Borgeaud. L’homme, l’œuvre, 1861-1924, La Bibliothèque des Arts, Lausanne, 1999: n. 73.
René Berger, Edith Carey, Jacques Monnier et alii, Marius Borgeaud: poète de la lumière et magicien de la couleur, Denges, Editions du Verseau, 1993.
Like many other artists, Marius Borgeaud spent much of his career painting in Brittany. But while others focused on picturesque Breton scenes, from widows mourning husbands lost at sea to traditional costumes, sunsets, and religious processions, Borgeaud – a Vaud native – developed his own unique vision of Breton life. He stayed in Rochefort-en-Terre from March to September every year from 1909 to 1919, painting scenes of small-town Breton life in the town hall, the café, the community centre, and on several occasions, the pharmacy.
In 1917, Borgeaud became friends with Dr. Victor Doiteau, who had a keen eye for art and became one of his most faithful collectors. In 1923, Doiteau wrote an article in the art, literature and science journal Æsculape describing the painting: “The chemist is shown looking through his drawers for a soothing topical medication for a melancholy grocer’s lad sitting in a chair, his basket by his feet, one cheek horribly swollen and a handkerchief tied round his head”.
The pharmacist Ernest Houal was another friend and collector of Borgeaud’s art. Borgeaud painted a series of scenes set in the pharmacy, seven of which survive, showing the space from every angle.
Borgeaud sets out to depict the pharmacist’s movement in the swish of his white coat, captured in folds and shadows. This type of effect grew rarer in his later works, either because his characters became less mobile or because his own style developed to incorporate flat swathes of colour, even for clothing.